Scandinavian songs in general don’t seem to have had very much international
response. True, the output of Grieg and Sibelius is fairly well known. Some
Swedish songs have also achieved an occasional airing through famous singers
like Björling, Nilsson, Gedda and Söderström. That said, I doubt that the
treasury of Danish songs has reached far beyond the specialist collectors.
Aksel Schiøtz recorded a number of Carl Nielsen’s songs some seventy years
ago and they have no doubt reached legendary status but besides that very
little is heard, I’m afraid; so much more the pity since there is a lot to
admire. On this disc Dacapo present love songs by three important composers,
representing three consecutive periods of the 19th century.

Chronological order of the composers would had been even more enlightening
but as it is we get a fair picture of the best of Danish song writing from
the period before Carl Nielsen.

Heise’s Tannhäuser settings – the lyrics by the highly accomplished Holger
Drachmann – are attractive. I skoven er der så stille (The forest is
so silent), the fifth, is a true gem, serene and beautiful – just as the title
says – but the various songs from some of Heise’s other collections are even
more charming in their Schumannesque dress. Christian Winther’s Vårsang
I host (Spring Song in Autumn) is fresh but agitated. Til en veninde
(To a lady friend) is lyric and simple. The through-composed Skønne fru
Beatriz (The Lovely Lady Beatriz) is expressive and Skovensomhed
(Forest Solitude) is calm and beautiful, sung with fine legato.

Weyse, born in Germany but a Danish citizen from the age of fifteen, is best
remembered for his symphonies. He was greatly admired by Mozart’s widow Constanze,
who lived in Copenhagen for a number of years. Most of the songs represented
here are from various Singspiele and plays. They are quite charming, simple,
mostly strophic songs. Born four years after Beethoven he was steeped in the
Classicism of Haydn and Mozart.

Lange-Müller was probably the most accomplished song-writer in his time and
is highly regarded in Denmark. Most of his creations are rather melancholy
but they are harmonically thrilling and there are touches of impressionism.
Tre sange ved havet (Three Songs by the Sea) possibly represent Lange-Müller
at his best. They strike an ideal balance between the voice and the expressive
piano accompaniments.

Mathias Hedegaard has a light lyric tenor, very agreeable and he makes the
most of these songs. Occasionally, under pressure, his tone becomes rather
hard and strident, but most of the time he is well suited to the music and
he obviously loves the music. He is well assisted by Tove Lønskov and the
recording is out of Dacapo’s top drawer. Danish readers probably don’t need
any encouragement to rush to the nearest record store – if there is one –
and buy this issue. This should be an enticing eye (or rather ear) opener
for other readers as well.

Göran Forsling

A fair picture of the best of Danish song writing from the period before Nielsen